b. 28
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composition: Op. 22, Polonaise
..
The absence of pedalling in the sources is most probably an oversight – see b. 26. category imprint: Editorial revisions |
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b. 29
|
composition: Op. 22, Polonaise
..
In the main text we change to , which is present in the sources in all analogous bars (b. 67, 173 and 211). The distinction between these marks can be difficult in Chopinesque autographs (cf., e.g. the Waltzes in A Minor, Op. 34 No. 2, b. 37, 39 and analog. and in D Major, Op. 64 No. 1, b. 20 and 92); moreover, taking into account the fact that b. 173 was most probably printed on the basis of the same notation of [A] as b. 29, there is a high likelihood that it is a mistake. In any case, both marks generally indicate the same performance when placed over small rhythmic values in faster tempi. category imprint: Editorial revisions |
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b. 30
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composition: Op. 22, Polonaise
..
In the main text we suggest adding pedalling markings after analogous b. 68. There is a similar situation in b. 174. category imprint: Editorial revisions |
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b. 31
|
composition: Op. 22, Polonaise
..
A comparison with analogous b. 69, and particularly with b. 175, which was almost certainly marked in [A] as a repetition of b. 31, proves the mistake of the engraver of FE (→GE,EE1). The mistake was corrected in EE2. category imprint: Differences between sources issues: EE revisions , Errors in FE |
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b. 31
|
composition: Op. 22, Polonaise
..
The mark, which bears all characteristics of a long accent in FE, was interpreted in the remaining editions as a hairpin. It is evidenced by the fact that the mark was being extended, which is particularly clear in GE2 (→GE3) and EE; the aim could have been to partially adjust the mark to the longer mark in the preceding bar. category imprint: Differences between sources issues: Long accents , EE revisions , Inaccuracies in GE , GE revisions |